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1. Electronic Literature

   Electronic Literature considers new forms and genres of writing that exploit the capabilities of computers and networks – literature that would not be possible without the contemporary digital context.

   In this book, Rettberg places the most significant genres of electronic literature in historical, technological, and cultural contexts. These include hypertext fiction, combinatory poetics, interactive fiction (and other game-based digital literary work), kinetic and interactive poetry, and networked writing based on our collective experience of the Internet. He argues that electronic literature demands to be read both through the lens of experimental literary practices dating back to the early twentieth century and through the specificities of the technology and software used to produce the work. 

   Scott Rettberg - 01.05.2018 - 20:06

2. Three Entrances

   This talk will link a discussion of the interface to the representation of fictional entrances in narratives. In the effort to keep it within the time limit, it is build around three images of the entrance: the moment in Colson Whitehead’s The Underground Railroad when the fantastical, titular train first appears in the novel, Alexander Galloway’s treatment of our interface on the fictional world of Norman Rockwell’s Triple Self-Portrait, and the opening few “rooms” of the 1976 Colossal Cave Adventure, a classical electronic narrative that pioneered the text-based interface on the textual world that defined interactive fiction.

   The goal of this talk will be to investigate the concept of the interface as a term that can travel between the design of the artifact (digital, written, or visual text) and the world represented. Galloway provides an account of the politics of the interface, and I will explore how that account explains these three very different texts.

   Daniel Punday - 13.08.2018 - 20:38

3. What Natural Language Generation Means for Authorship and Why We Should Care

   Natural language generation (NLG) – the process wherein computers translate data into readable human languages – has become increasingly present in our modern digital climate. In the last decade, numerous companies specialising in the mass-production of computer-generated news articles have emerged; National Novel Generation Month (NaNoGenMo) has become a popular annual event; #botALLY is used to identify those in support of automated agents producing tweets. Yet NLG has not been subject to any systematic study within the humanities.

   leahhenrickson - 13.08.2018 - 21:09

4. Canon Goes Mobile: Ludosemiotics of Remediation

   Modern forms of literature frequently question our reading habits, and provoke us to re-define the act of reading and the book form. The “magic” of the book, described by Bezos as its ability to be an invisible device that disappears in the reader’s hands, permitting them to enter a story-world, is nowadays replaced by the “real magic” of non-invisible interfaces. The latest manifestations of these interfaces invite us to do things we usually do not do while reading: to touch, to shout, or to shake the device. In the other words, our reading becomes a very sensual and corporeal action and our “reading behaviour” is important for discovering the meaning of the work. That’s why we need a revision of poetics (Simanowski 2009), like Bouchardon’s theory of gestural manipulation as a literary figure (2014). 

   Scott Rettberg - 29.08.2018 - 14:56

5. Towards the study of the literary phenomenon in digital media

   Literature created in digital media exists in a realm whose borders may be changing, malleable, or nonexistent. In this realm, where anything may happen, traditional theories are insufficient to understand the literary phenomenon in non-print platforms. Electronic literature demands an analysis that matches its nature, which does not necessarily coincide with existing theory, since electronic literature exists to be consumed through technologies which have been available just recently and which, by transforming the ways we read and write, challenge the canon of literary form, and establishing a new paradigm for text creation and reading. According to Roger Chartier, “The electronic text revolution is at once a revolution in the technology of the production and reproduction of texts, a revolution in the medium of writing and a revolution in reading practices.” (“Readers and readings in the Electronic Age”) as a corollary, this revolution implies also a new way of approaching the literary phenomenon from a critical perspective.

   Linn Heidi Stokkedal - 29.08.2018 - 15:13

6. Forms and Platforms

   Forms and Platforms

   Chiara Agostinelli - 29.08.2018 - 15:15

7. Two Dimensions for classifying interactive digital narratives

   In this paper, I introduce two dimensions for classifying interactive digital narratives to allow comparisons between works in different traditions with the aim to improve the dialogue across these divides. Electronic literature and other forms of interactive digital narratives exist in many forms, amongst them Interactive Fiction (IF), hypertext fiction (HF), narrative-focused video games, interactive documentaries, art installations and VR/AR works. Between these different forms, underlying models, artistic approaches and descriptive vocabulary differ considerably. I propose to map different works and positions along the dimensions of narrative status and player/interactor role. These two dimensions enable comparisons and are a stepping stone towards a more developed analytical matrix in the future

   Linn Heidi Stokkedal - 29.08.2018 - 15:20

8. Engineered Opacity and Illegible Interfaces in Ted Warnell's CODE STORY

   Ted Warnell’s 2005 digital code portrait project CODE STORY generates its material from a play of interface design and operational opacity. Beginning with digital photos of various friends and fellow writers, Warnell opens these photos in a text editor, generating non-semantic UTF-8 encoded text via the editor’s misinterpretation of the data in the image file. Warnell shapes this error text into new concrete poetic forms, inserting the name of the portrait’s subject throughout the redesigned text, and uses it as the base for two different types of code portraits: the first a dynamic Web page scripted to produce new versions of a portrait with each successive refresh; and the second a static GIF image of the first used to advertise prints of the code portraits sold through the project website. In effect, the operations which generate the poetic interface are made visible as interface through their engineered failure. In a perfect world, a UTF-8 encoding operation would simply result in clear semantic text, carrying no trace of the process by which said text is generated.

   sondre rong davik - 29.08.2018 - 15:22

9. Mod Cyberspace, Mod the World!

   Skawennati and Jason Edward Lewis talk about their experience as co-directors of the Skins workshops in Indigenous Storytelling and Experimental New Media, through which Indigenous youth across Turtle Island have been taught how to make both video games and machinima. Skawennati explain how and why she adopted the internet as her homebase, touching upon early projects such as CyberPowWow and Imagining Indians in the 25th Century and showing excerpts from TimeTraveller™ and She Falls For Ages.

   Carlos Muñoz - 29.08.2018 - 15:25

10. Critical examination of concepts relating to canon, preservation, and access

    Astrid Ensslin (University of Alberta), offers a critical examination of concepts relating to canon, preservation, and access. Adopting an essentially critical outlook on canonization as a process of scholarly and social elitization, she argues that material (financial, geographic, and technological) access has always been a discriminating, regulatory factor in canon development, even if we assume a dynamic concept of canon (Ensslin 2007) or a crowdsourcing, emergent approach (Rettberg 2013) that align with contemporary, fast changing technological developments. Ensslin’s paper focuses on the ​Eastgate Quarterly Review of Hypertext ​(​EQRH​), published in two volumes between 1994 and 1995, which has been largely neglected by digital fiction scholarship, mainly because of incompatibility and obsolescence issues.

    Akvile Sinkeviciute - 29.08.2018 - 15:25

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